Florida State University Libraries 2016 Analysis of Two Early Euphonium Concertos, Their Composers, and Their Impact on the Euphonium Repertoire Paul Thomas Dickinson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ANALYSIS OF TWO EARLY EUPHONIUM CONCERTOS, THEIR COMPOSERS, AND THEIR IMPACT ON THE EUPHONIUM REPERTOIRE By PAUL DICKINSON A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2016 Paul Dickinson defended this treatise on April 11, 2016. The members of the supervisory committee were: Paul Ebbers Professor Directing Treatise Patrick Dunnigan University Representative John Drew Committee Member Christopher Moore Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii TABLE OF CONTENTS ABSTRACT……………………………………………………………………………………...iv CHAPTER ONE – JOSEPH HOROVITZ AND HIS EUPHONIUM CONCERTO OF 1972…...1 Early Life and Education………………………………………………………………….1 Career……………………………………………………………………………………...2 Joseph Horovitz’s Music…………………...………………....………………………......5 Modern Day……………………………………………………………………………….9 Historical Relevance……..................................................................................................10 Euphonium Concerto (1972)………..................................................................................11 Conclusion………….........................................................................................................13 CHAPTER TWO – JOHN GOLLAND AND HIS EUPHONIUM CONCERTO NO. 1 OF 1982................................................................................................................................................14 Early Life and Education…………………………………………………………...……14 Career….............................................................................................................................15 John Golland’s Music…………………………………………………………………....18 Later Years…………………….…………...……………………….……………………20 Euphonium Concerto No. 1 (1982)…………………………………………...………….22 Conclusion……………………….………...………………….………………...……….24 BIBLIOGRAPHY......……………………………………………………………………………25 BIOGRAPHICAL SKETCH……………………………......……………………………….......28 iii ABSTRACT As a relatively young instrument, the euphonium’s solo repertoire lacks the depth available for instruments such as the violin or piano. Even other instruments in the brass family have repertoire composed by historically important musicians like Haydn and Mozart. Though the euphonium began to enjoy recognition as a virtuosic solo instrument with bands in the early 20th century, a number of these solos were borrowed from other instruments and none were concertos. Significant music written by prominent British composers specifically for euphonium began to surface in the early 1970s, leading with Euphonium Concerto (1972) by Joseph Horovitz and Fantasia (1973) by Gordon Jacob. John Golland followed soon after, writing his Euphonium Concerto No. 1 in 1982. The euphonium’s strength as a solo instrument grew because of its role in music written numerous British composers through the mid-20th century, both in concert band and brass band settings. Even in non-solo lines, composers often depended on the euphonium to supply a virtuosic tenor voice in their writing. Some of these same composers eventually supplied some of the first large-scale solo works for euphonium. Joseph Horovitz was among the first to write for the euphonium as a solo instrument with the brass band. John Golland followed these traditions in his own brass band compositions, and wrote two prominent euphonium concertos with brass band accompaniment. He wrote each of his concertos in collusion with two of Britain’s most prominent euphonium stars of the 1980s, the first with Robert Childs and the second with Robert’s brother, Nicholas. The first Concerto strongly represented Golland’s own life, and includes some of the most virtuosic solo writing in existence for euphonium. The perceived limits of possibility challenged by Golland in this composition started a trend of increasingly difficult requirements in subsequent euphonium works, eventually changing the assumed lyrical iv and technical limits for euphonium performers over time. Though the demands of range and difficulty in later compositions expanded beyond Horovitz’s original writing, composers still include direct references to his Euphonium Concerto in terms of style, structure, and closely- related quotes of his music. A few of the more highly regarded new concertos from the past twenty years were composed by the next generation of brass band composers who were taught by Horovitz, extending his influence even deeper into the euphonium repertoire. This treatise focuses on two early euphonium concertos and the lives of the composers who created them. Joseph Horovitz and his Euphonium Concerto (1972), which is recognized as the first concerto written specifically for the euphonium, will constitute the first chapter. The second chapter centers on John Golland and his Euphonium Concerto No. 1 (1982). Each composer’s personal history will be the first portion of each chapter, but their compositional idiom will also be examined using other selections from their respective bodies of music. Finally, each chapter will briefly assess the role of these pieces and their composers in the overall development of the euphonium concerto, especially in relation to British brass band music. The body of this treatise came from books, periodicals, radio interviews, notes by the composers and publishers, and personal accounts from friends and colleagues close to the composers. Recordings and scores of the two concertos were analyzed alongside recordings and scores of other works by these composers to draw conclusions regarding the each composer’s general style of writing. In the case of Horovitz, his students and their work were also examined in order to gauge that aspect of his continuing influence on the brass band world. The end result gathered from these sources formed a biography of each composer which also addresses their music and influence on the early development of the euphonium repertoire. v CHAPTER ONE JOSEPH HOROVITZ AND HIS EUPHONIUM CONCERTO OF 1972 The Euphonium Concerto by Joseph Horovitz (b. 1926) holds prominence as not only being the first concerto written specifically for the euphonium and brass band, but also for being among the first euphonium concertos of any type.1 Due to its historical relevance and musical quality, the Concerto has remained among one of the most widely performed pieces in the euphonium repertoire among young, intermediate-level performers, and is still often featured as a staple of the repertoire on suggested solo lists and competition requirements around the world.2 Early Life and Education Joseph Horovitz was born in Vienna, Austria in 1926, in the brief span of peaceful years between the two World Wars.3 As Jews, his family began to watch with growing apprehension the emergence of Adolf Hitler and the Nazi party with their virulent hatred and racism. Within a decade, their fears manifested themselves as the Nazis took control of Austria. On the day that they forced the Prime Minister of Austria to abdicate and the country fell to the Nazis, Horovitz’s parents were away on a business trip. Horovitz, one of his sisters, one of his grandmothers, his aunt, and his infant cousin all fled south together into Italy to escape the regime change before the borders could be closed. Some of his other family members remained trapped in Vienna for a time. His whole family eventually journeyed from their various locations to reassemble at one of his aunt’s apartments in Belgium. From there, Horovitz and his father traveled onward to England, where they arrived on May 1, 1938 as Jewish refugees. 1 Bone, Lloyd E., Eric Paull, and R. Winston. Morris. Guide To the Euphonium Repertoire: The Euphonium Source Book. Bloomington: Indiana University Press, 2007: 127. 2 “John Golland.” Brass Band Results. Tim Sawyer, n.d. Accessed November 3, 2015. https://brassbandresults.co.uk/composers/Golland-golland/. 3 Bone, 465. 1 Once settled in England, he began to attend Regent’s Park School. The education system at Regent’s Park specifically catered to immigrant and refugee children, and focused on preparing these children to live as English citizens. Within months, the children regularly participated in traditional English sports, like Cricket, and other social activities which were standard for English schoolchildren at the time. The war soon spread to Britain’s shores, and he and his family fled once more as the Luftwaffe began their merciless bombing routines on England’s cities. They moved to Oxford to escape the worst of the attacks, and Horovitz finished the majority of his education at New College, Oxford. While working towards his degrees in music there, he began to approach the age at which young men in Britain were often asked to enlist to help the war effort. He was classified as an “Enemy Alien,” though, which limited the options to mining or munitions work. Upon being made aware of the situation, Oxford’s professor of music, Sir Hugh Allen, made a phone call on his behalf. As a result, Horovitz was diverted into the Army Education Corps. He served as a music appreciation lecturer for some of the armed forces camps and gave